U.S. TV actress Linsey Godfrey is expected to make a full recovery after her legs were broken in a car accident in Los Angeles on Monday (02Feb15). The Bold and the Beautiful star, 26, was crossing a sidewalk when two cars collided at a nearby intersection, sending one vehicle careening into the pavement, mowing her down.
She suffered two broken legs in the incident and is expected to undergo surgery at a later date, but her manager tells Eonline.com Godfrey is doing well.
The representative says, "Linsey is recuperating at the hospital. Her doctors expect a full recovery. She will need treatment on her ankles but things are looking good at this point."
The incident is still under investigation by Los Angeles police.
Meanwhile, Godfrey's pal, fellow actress Kelly Kruger, has assured fans the soap star will be fine.
She tweets, "Hey everyone. @linseygodfrey is going to be okay. She is strongest person I know & has all the Drs (doctors) laughing w (with) her usual hysterical self."
The Bold And The Beautiful star Linsey Godfrey has been hospitalised after she was hit by a car in Los Angeles on Monday (02Feb15). The actress, 26, was struck by vehicle when it careened onto a sidewalk after colliding with another car at a nearby intersection.
Godfrey's manager tells The Los Angeles Times that he is uncertain about the exact nature of the star's injuries, but insists she is awake and talking.
Los Angeles Police Department officials are investigating the collision.
Peter Gabriel was named a Prog God at the 2014 Progressive Music Awards in London on Thursday (11Sep14). The former Genesis star was honoured for his pioneering contribution to the world of prog rock.
He joins Jethro Tull frontman Ian Anderson and Rick Wakeman as a recipient of the trophy.
Wakeman was feted again on Thursday, when he picked up the Best Live Event prize for the 40th anniversary tour of Journey To The Centre Of The Earth.
Other winners included Camel co-founder Andy Latimer, who was handed a Lifetime Achievement Award, Curved Air singer Sonja Kristina, who took home the Guiding Light Award, and enigmatic The Enid frontman Robert John Godfrey, who picked up the ceremony's Visionary Award.
Meanwhile, Transatlantic's Kaleidoscope was named Album of the Year and Dream Theater picked up the Band of the Year trophy.
Actor Ansel Elgort is to portray American pianist Van Cliburn in a new biopic. Van Cliburn will be based on the Howard Reich novel of the same name and will reunite Elgort with his The Fault in Our Stars producers Wyck Godfrey and Marty Bowen, according to Deadline.com.
Andrew Stern will write the script for the movie, which will focus on the musician's early years and the Tchaikovsky International Piano Competition in Moscow, which he won in 1958.
Cliburn passed away of bone cancer last year (13).
When David Mamet's play Sexual Pervesity in Chicago was adapted into the 1986 movie About Last Night, the self-absorbed Chicago twenty-somethings were played by Rob Lowe, Demi Moore, Jim Belushi, and Elizabeth Perkins. In the 2014 remake, those parts are now being played by Michael Ealy, Joy Bryant, Kevin Hart, and Regina Hall and nothing about that seems unusual. It isn't that Mamet's play has changed much in the 40 years since he first wrote it, it's that some of the audience's preconceived notions of who can play what role have.Just as it happened with the reworked The Karate Kid that featured Jaden Smith in the title role made famous by Ralph Macchio, About Last Night takes a '80s story and adds some ethnic diversity to come up with something new. Well, there's a whole lot more movies from the '80s that are just sitting there waiting for just such a redo. Here are five stories that would work just as well in a more coloful version.
Molly Ringwald playing the forgotten girl on her birthday, in love with an older boy and tormented by geeks in the John Hughes classic. Everything about the story still works, including the Chicago suburban setting that was ultra-white in the '80s. Disney Channel stalwart Coco Jones is the right age to play the teenager in love, and Zoe Kravitz would make a fine addition as her attention-hogging older sister. So what if Jones and Kravitz don't look alike? Ringwald looked nothing like her onscreen family in the original. In the all-important older guy role, someone like 90210's Tristan Wilds could provide the smolder. The only real issue would be what to do with the original's exchange student, The Donger. That was a role so racially regrettable that it doesn't exactly have a place in today's world.
In Mike Nichols' film, Melanie Griffith played the secretary that secretly takes over for her out-of-commission boss (Sigourney Weaver), proves a capable business woman, and wins the affection of Harrison Ford. The Griffith character would have to be called an assistant now, but otherwise there isn't much about the story that needs to change. Use someone like Kat Graham (The Vampire Diaries) or Tika Sumpter (Ride Along) as the underling trying to get ahead, maybe Halle Berry or even Gabrielle Union as the obnoxious boss and Taye Diggs as the love interest, and update the setting from a generic New York investment bank to the entertainment idustry. What Hollywood assistant doesn't want to push the boss out of the way and take over?
Sure, people remember the soundtrack but how many people remember the story? A steel-worker by day who dances in a bar by night, all while dreaming of making it as a legitimate professional dancer, and is pursued by her rich boss. Back then she wasn't really a stripper, but now she would have to be and she'd be trying to break into something hipper than ballet. The role could also be played this time by someone that can legitimately dance, since Jennifer Beals, the original star, was famously replaced by a body double. Someone like That Awkward Feeling's Jessica Lucas would work, or else there's got to be a Janelle Monáe back-up dancer that's ready to break out.
Tiger Woods broke on the scene nearly 20 years ago, so a golf comedy set at a country club and featuring a diverse cast shouldn’t be any big deal. It's near sacrilege to many to consider remaking such a beloved classic, but a new version would be shooting for a whole new audience. After all, golfers of all colors are tired of reciting the same tired lines from the original. Start with Hart taking on the Rodney Dangerfield role of the rich guy that doesn't like the country club set. Imagine letting Hart riff on a bunch of rich people while dressed in ugly golf garb, throw in Saturday Night Live's Jay Pharoah as the wacky grounds keeper, and it just flows from there. You could have a who's who of comedy going... Godfrey, Chris Rock, Mike Epps, Katt Williams, Faizon Love… there would be a part for just about everyone. Heck, even Eddie Murphy might be convinced to do the Judge Smails role that Ted Knight made famous. That would be top notch.
Three Men and a Baby
Tom Selleck, Ted Danson and Steve Guttenberg were three well-off bachelors sharing a fabulous midtown Manhattan apartment that have their lives interrupted by a baby being dropped off at their doorstep. The idea of guys taking care of babies continues to be played for laughs, most recently in the sitcom Guys with Kids. What has been missing since Three Men is the angle of the guys being rich, Type A personalities. Take Jesse L. Martin, Tyler Perry and Damon Wayans Jr., move the setting to Hollywood, make them all successful and sharing a Charlie Sheen-type playpen, and then let a baby screw up their lives. It's comedy gold.
After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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There is something to be said for ambition. The sort of unabashed, no holds barred, balls to the wall energy that makes anything seem like a good idea. Though you'll cock your head at the results of this kind of caution-to-the-wind bravado, the all-inclusive "sure, why not?" attitude, you can't help but crack a smile for the purveyors of this spirit: the first grader who stuffs his class diorama with every figurine and pipe cleaner machination he can muster, the bird who lines its nest with candy wrappers and Fedex receipts, or the people who made the Mortal Instruments movie. They, quite possibly, are the mightiest knights of them all.
You don't have to wait too long for the crazy to kick up in The Mortal Instruments: City of Bones. We open on the most spacious apartment in the history of Brooklyn, where young Lily Collins is beginning to see mysterious symbols popping up everywhere, only the first sign of the fantastical journey set to take form. Mother Lena Headey, aided by her platonic friend Aidan Turner, plays the Dursley card and takes effort to deter any exploration of the ominous elements to befall her daughter. But as with every spunky mystic around her age, Collins cannot be restrained. She follows her heart and embarks on a quest, aided by her platonic friend Robert Sheehan, through every single conceivable element of modern fantasy.
The Harry Potter similarities continue when Collins is ushered into a demonic otherworld via New York City's equivalent of a murky train platform (an ecstasy-laden dance club), guided by New York City's equivalent of a haggard woodland giant (a perpetually shirtless goth ghost, played by Jamie Campbell Bower). Working her way up from glowing-eyed club druggers and pieces of living jewelry to demons, werewolves, witches, vampires, and interdimensional portals — tossed in one by one as we gradually abandon all devotion to any margins of logic — Collins engages in an adventure that seems entirely open to all possibilities. Or at least all possibilities that have proven vigilant at the box office in the past four years.
And as she engages, so do we. Not exactly in the way you engage with Harry Potter... more in the way you engage with the Harry Potter ride at Islands of Adventure. You'll embrace the likable and talented Collins just enough to forge the sort of relationship you want with a fantasy heroine. You'll find yourself rooting one way or the other in the love triangle between her, the Shirtless Shadowhunter (Campbell Bower), and her lovestruck pal Simon (Sheehan). You won't have to work too hard to understand most of the mystical facets tossed your way: you know the rules of vampires (no sunlight), of werewolves (they're dudes sometimes), of demons (they're bad). And when it does get confusing, like when teleportation bubbles and portal beams from the afterlife and curses and tarot cards and dreadlocks are tossed into the equation, you have the luxury of abandoning the puzzle. You're not asked to understand anything, just to accept it all.
Accept that all this madness can, does, and should occur within the malleable reality occupied by Collins and her ghastly friends. When it is revealed that classical musicians had a hand in these supernatural forays, accept it. When you're taken from wizards' palaces to Willy Wonkian wonderlands to the destitute streets of a haunted Manhattan post 3 AM, accept it. When genealogical revelations tie everything together in a bow so strange as to put the peculiarity of bat invasions, corpse armies, glowing hieroglyph tattoos, and memory erasing club promoters, accept it. If you can do all that, you'll find a comical thrill ride in this two hours of steadily accelerating madness, this Mulligan Stew of YA fiction. But if you're too hung up on logic, rules, world building, or any semblance of pacing, stick with Potter — Mortal Instruments is for the most adamant "sure, why not?"-ers only.
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Like Scarface and Honey Boo Boo, Hillary Clinton is a polarizing figure, which naturally makes her the perfect subject of a biographical feature film. If only there was such a script floating around, just waiting to be scooped up and produced... Oh wait! There is. Simply title Rodham, the film was written by Young Il Kim of South Korea. While no actors have been cast, the film has begun its pre-production tango with producers Wyck Godfrey and Marty Bowen, with James Ponsoldt signed on to direct. So this thing is happening.
But the film covers the life of Clinton in a, well, interesting way. The Daily Beast got their hands on what may or may not be a final draft of the screenplay, and it's completely insane. There's wild speculation on the relationship between Bill and Hillary, a harpy-esque Hillz stepping on the toes of justice, and, of course, the paintsuit origin story. Here are 10 details from the script which show why this gonzo tale will probably never get end up being made.
1. Bill Clinton's Boob Obession. Apparently Slick Willie mentions how the watermelons of Hope, Arkansas, are the "firmest, juiciest melons" he’s seen. And that's because Bill likes big boobs! Big, watermelon-shaped boobs. It's edgy because boobs.
2. The Blatant Hatred of Lady Equality. Hillary is called "the valedictorian of the 'look-like-shit school of feminism.'" You think Hillary's going to sign-off on such a whitewash of her character? The over-done joke is a real bore, my dears.
3. Because This: "It depends upon what the meaning of the word 'sex' means." — Oh, hey, look! An allusion to Bill's words during the Lewinsky scandal. Does this depend on what the definition of "trite" is?
4. Aforementioned Paintsuit Origin Story. John Doar, a former boss of Hillary's, suggests she lose her skirts in favor of the ever-so-practical pantsuit while working on the Nixon impeachment committee. It contains the line "From this day forward, she will always wear pantsuits." And so it was written into the Constitution.
5. There Are Saxophones. Bill plays Hillary both "Happy Birthday" and "Hail to the Chief" on the saxophone.
6. Hillary's Trucker Mouth. Hillary says at one point in the script: “I fuckin’ love you. I mean that. I love you, and I want to fuck you" to Bill. And apparently she often says "motherfuckin'," which just tickles Bill's bits.
7. Because of This Whole Scene: Bill Clinton’s mother, Virginia, does not like Hillary because she thinks that Hillary should be a pie-baking, sock-darning, seed-carrying accessory to her baby Bill. When she urges Hillary to wear something pretty to make her son happy, Hillary goes and puts on an old blue (!!) prom dress.
8. The Kooky Family Members. Shortly after the prom dress incident (which somehow didn't involve underage sex and an adult contemporary soundtrack form the 80s), Bill's half-brother Roger Clinton Jr., (18 at this point) asks a group of gathered folk, "Who do you think fucked more women? Bill or Hillary?” and all of Bill’s friends laugh and laugh and laugh. Roger is depicted as a stoner with a bong. Hey, at least some of this sounds true.
9. This Movie is Actually Just About Bill's Sexcapades. "Hillary bursts into Bill's office to complain of her treatment just as a 20-year-old giggling coed comes out. Bill explains that she’s a former student of his and the president of the Arkansas College Democrats. It's one of many references to Bill’s popularity with the ladies." Ladies Love Cool Bill.
10. All of the President Talk. Hillary's friend Betsey Wright at one point screams, "You can’t both be president!" Which is a line that will definitely be used in a trailer someday alongside a stoic-looking, determined face of a young Hillary Clinton. It almost sounds worth it! Ha, just kidding you guys.
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The debates can finally end: Ansel Elgort has just landed the lead in the hotly-anticipated adaptation of John Green’s The Fault in Our Stars, directed by Josh Boone. He will star opposite YA queen and Divergent costar Shailene Woodley.
"Ansel is whip-smart and uber-charismatic and everything I dreamed for Augustus Waters," Green tells EW. "I am by nature a cautious pessimist, but I’ll just say it: Now that we have Shailene and Ansel, I am completely, unreservedly psyched about this movie."
Elgort's Augustus Waters is a videogame-loving ex-basketball player who lost his leg to osteosarcoma, and a complete dreamboat. Woodley plays Hazel, a teenage cancer patient who meets fellow sufferer Augustus in a cancer support group.
"Elgort is the epitome of the boy John Green brought to life so vividly in his novel and he truly embodies the character traits we admire so much about Gus," Boone says. "His humor, sensitivity, honesty and confidence floored us. Watching him with Shailene was like seeing the film for the first time. Hearing then say okay to each other was incredibly moving. We couldn’t be more thrilled to have found our Gus."
Playing Woodley's on-screen love interest will be quite the change from their current on-screen relationship: Elgort is currently playing Caleb Prior, Woodley's brother on Divergent (adapted from the Veronica Roth bestselling series).
"We were all swept away by the humor, charm, and aching vulnerability Ansel brought to his portrayal of Gus," The Fault In Our Stars producer Wyck Godfrey says. "His performance completely annihilated our concerns about his playing Caleb in Divergent with Shailene, and we are confident that the fans of Fault will fall in love with him the same way that Hazel does – slowly, and then all at once."
Divergent is currently in production, while The Fault In Our Stars begins production in August.
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A cheerleader, gypsy, and a rich kid walk into Hemlock Grove. And that's pretty much all you learn during the first 45-minute installment of Netflix's new series, executive produced by horror master Eli Roth. The mysterious town comes complete with a trendy helping of supernatural drama, but, at least in the first episode, not nearly enough to capture audiences searching for the next True Blood.
Hemlock Grove certainly looks like the popular HBO series — like True Blood, Hemlock Grove even opens with a sex scene in a car. But the similarities end there. Whereas True Blood favors schlocky romance that incites viewers to head to the HBO Store to pick up Team Bill or Eric t-shirts, Hemlock Grove delivers detached high school ennui. It's an interesting departure for a supernatural series, but, unfortunately, when our characters are bored, so are the audiences.
At the center of the inaction is Roman Godfrey, the wealthy son of a deceased businessman played by True Blood star Alexander Skarsgard's younger brother, Bill Skarsgard. He's a cliché of a rich kid — a teen who doesn't appreciate his own status. In fact, Roman only gets his thrills from recreational drug use, an unsettling close relationship with his cousin, and cutting himself during sex — certainly, a nod towards vampirism, even though we have yet to determine his supernatural connection. When, near the beginning of the first episode, Roman smiles at a young cheerleader who quickly turns up dead, we're left to believe he's most likely responsible.
Unless, of course, Gypsy and presumed werewolf Peter (Terra Nova's Landon Liboiron) is the culprit. New to the town of Hemlock Grove, Peter and his mother (Lili Taylor) are shacked up in decrepit trailer, with Peter only befriending an odd neighbor (Freya Tingley) who seems to have watched enough Twilight to immediately associate the town's newest hottie with a werewolf.
But far more intriguing is Roman's mother, Olivia, played by X-Men star Famke Janssen. Netflix's answer to Revenge's Victoria Grayson, Olivia is an ice queen with a spoiled son, deformed daughter, and a secret that has yet to be revealed by the first episode's end. If there's anything reeling in audiences for 13 episodes, it's discovering what that secret is — even if it's how Olivia picks out her impeccable wardrobe.
Perhaps the main issue with Hemlock Grove is the executive producer himself — with the Roth name behind the series, viewers expect the same blood and gore that made Hostel a hit franchise. But, with the exception of one stomach-churning scene involving a fingernail, the blood is no worse than what you'd see on Law & Order: SVU, and not even close to being as bad as the tamest of Walking Dead episodes. On top of the release of a trailer that promised bones, maggots, and more, horror fans are likely to be disappointed to see only one dead body found in Hemlock Grove.
Still, there were a handful of gory moments in Hemlock Grove. See them below — complete with a NSFVWE warning (Not Safe For Viewing While Eating). And if these are enough to keep horror fans captivated, well, we hear there are maggots in the next dozen episodes!
Poor cheerleader Brooke Bluebell went into the night to get nailed... and ended up losing a nail.
Roman's little sister, Shelley (Nicole Boivin), is so very Dr. Kimberly Shaw.
More than a half hour in, Roth finally unveils some entrails.
And more entrails! Ready for lunch?
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